Walt Disney Pictures/Marvel
There's a pretty good chance you had heard of Iron Man, Captain America, Thor, and for certain the Hulk prior to their big screen debuts in the Marvel cinematic canon. But the Guardians of the Galaxy are a more esoteric lot. Only those well versed in the publishing company's history will approach this weekend's feature film with any familiarity with Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax the Destroyer (Dave Bautista), Rocket Raccoon (Bradley Cooper), or Groot (Vin Diesel). But rest assured: they've been around. And if you dig them in Marvel Studios' Guardians of the Galaxy (which we sure did — check out our review), you'll have the opportunity to check them out elsewhere.
Granted, James Gunn's film does do its share of reinventing in regards to its central fivesome. Well-read fans might notice a new take on Peter Quill's backstory or Drax's species, and newcomers could discover some inconsistencies upon pursuing extracurricular material in light of their blossoming love affairs with the Guardians. But the spirit of the heroes is very much alive in Gunn's Guardians of the Galaxy, ditto many of the features and TV series listed below. As such, embrace your affection for the oddball quintet and check out any and all works that will allow you more time with the gang. Here's where to begin:
Planet HulkStar-Lord and Gamora both appear in the 2010 direct-to-video animated film (which has been tossed around the Internet discussion boards as viable source material for upcoming Avengers movies), but without speaking parts.
The Avengers: Earth's Mightiest HeroesAiring on May 6, 2012 (funnily enough, the same weekend that The Avengers hit theaters), the animated series' episode "Michael Korvac" featured Star-Lord, Rocket Raccoon, and Groot as temporary foes of the series' heroes — a league including, at this point, Iron Man, the Hulk, Hawkeye, and Ms. Marvel — when a battle is waged over the capture/safety of the mysterious titular individual. In the episode, voice actors Steve Downes, Greg Ellis, and Troy Baker voice Star-Lord, Rocket, and Groot respectively.
Ultimate Spider-ManThe entire gang banded together (and with a pretty impressive team of vocie actors) for the animated series' aptly named July 2013 episode "Guardians of the Galaxy." The aforementioned Korvac returns as an intergalactic menace with an army of Chitauri, forcing Spider-Man to seek the assistance of the Guardians in the interest of his defeat. Star-Lord is voiced by Marvel regular Chris Cox, Gamora by comedian Nika Futterman, Drax by David Sobolov, Rocket by Billy West (the voice behind Doug Funnie and Futurama's Philip J. Fry), and Groot by the late Michael Clarke Duncan.
Avengers AssembleJust this past April, we got to see all five Guardians take center stage on this animated series' episode "Guardians and Space Knights." Iron Man leads the rest of the Avengers to a distant planet, where they and the Guardians of the Galaxy join forces to stop an impending attack from Galactus. Voice actors Chris Cox, Nika Futterman, and David Sobolov return; meanwhile, Rocket earns the familiar voice of actor and geek icon Seth Green, and Groot is portrayed by Kevin Michael Richardson.
Hulk Agents of S.M.A.S.H.An upcoming episode of the animated series will feature the whole gang back together again, with returning voice actors Cox, Futterman, Sobolov, Green, and Richardson.
And, for a bit of a throwback...
Silver Surfer Gamora makes a few appearances in this late '90s animated series, the first of which being in the two-part episode "Learning Curve," which also featured Drax the Destroyer... albeit a very different version: he was an android, and the servant to the Titanian leader Mentor. Together with Silver Surfer and his pal Pip, Drax helps to stop Thanos (hey, he's in the movie too!) from taking over the universe. Gamora would later show up in episodes "Antibody" and "Radical Justice." In this series, Drax is voiced by Noam Spencer and Gamora is voiced by Mary Long and Alison Sealy-Smith.
But before you check out any of these entries, see the film in theaters now!
Follow @Michael Arbeiter | Follow @Hollywood_com

Netflix
The Fourth Annual Critics' Choice Television Awards were held Thursday night, with AMC's Breaking Bad, Netflix's Orange Is the New Black, and FX's Fargo coming away with the big wins. The awards, which are chosen by TV critics, have a knack for recognizing the programs and performances that are often overlooked by the other big television award shows. But do the slightly out-there nominees have a chance for gold when it comes to the Primetime Emmys? We've decided to predict the nominees and winners of this year's Emmys based on the winners of last nights Critics Choice Awards. The two award shows might have more winners in common than you would expect.
BEST DRAMA SERIES
Critics' Choice AwardsThe Americans Breaking BadGame of Thrones The Good Wife Masters of Sex True Detective
Emmy PredictionsBreaking BadGame of ThronesThe Good WifeHouse of CardsMad MenTrue Detective
Last year's Emmy winner, Breaking Bad, is coming off a fantastic final season, so it's hard to reason how Vince Gilligan's masterwork won't win the night's big award yet again. But on the slim chance that Bad doesn't win (and we mean slim), True Detective is the most sensible alternative. We don't expect low profile dramas like Masters of Sex and The Americans to be recognized by the Emmys, and the hype on Downton Abbey has cooled of considerably this year. Another Emmy favorite, Homeland, had its worst season yet last year, freeing the category up for some new blood.
BEST COMEDY SERIES
Critics' Choice AwardsThe Big Bang Theory Broad City Louie Orange Is the New Black Silicon Valley Veep
Emmy PredictionsThe Big Bang TheoryLouieModern FamilyOrange Is the New BlackParks and RecreationVeep
Freshman dramedy Orange Is the New Black will certainly get nominated at the Emmys, but we're doubtful that Netflix's prison series will win the top prize like it did at the Critics' Choice Awards, certainly not in a race that includes Modern Family. The juggernaut of a sitcom has won the category four times in a row, and there's nothing with enough buzz to stop it's warpath. Elsewhere, Critics' Choice nominees like Silicon Valley and Broad City are way off the Emmys radar, and don't stand a chance of getting nominated.
BEST ACTOR IN A DRAMA SERIES
Critics' Choice AwardsBryan Cranston, Breaking Bad Hugh Dancy, Hannibal Freddie Highmore, Bates Motel Matthew McConaughey, True Detective Matthew Rhys, The Americans Michael Sheen, Masters of Sex
Emmy PredictionsBryan Cranston, Breaking BadJeff Daniels, The NewsroomJohn Hamm, Mad MenDamien Lewis, HomelandMatthew McConaughey, True DetectiveKevin Spacey, House of Cards
McConaughey came out on top at the Critic's Choice Awards, but despite his massive performance in True Detective, we're doubtful he will best Cranston at the Emmys. We're expecting the rest of the category's Emmy nominees to be rounded out with the usual suspects. While the critics recognized the great performances in Hannibal, The Americans, and Bates Motel, we're doubtful that any of those shows will make it to the Emmys this year, or any year for that matter.
BEST ACTRESS IN A DRAMA SERIES
Critics' Choice Awards Lizzy Caplan, Masters of Sex Vera Farmiga, Bates Motel Julianna Margulies, The Good Wife Tatiana Maslany, Orphan Black Keri Russell, The Americans Robin Wright, House of Cards
Emmy PredictionsClaire Danes, HomelandJulianna Margules, The Good WifeElisabeth Moss, Mad MenTatiana Maslany, Orphan BlackKerry Washington, ScandalRobin Wright, House of Cards
When the dust settles, we're expecting Tatiana Maslany to also win the Emmy in this category. At this point, her hype is insurmountable, and riots might break out if she doesn't leave the Nokia theater with something golden.
BEST ACTOR IN A COMEDY SERIES
Critics' Choice AwardsLouis C.K., Louie Chris Messina, The Mindy Project Thomas Middleditch, Silicon Valley Jim Parsons, The Big Bang Theory Adam Scott, Parks and Recreation Robin Williams, The Crazy Ones
Emmy PredictionsDon Cheadle, House of LiesLouis C.K., LouieMatt LeBlanc, EpisodesJim Parsons, The Big Band TheoryAndy Samberg, Brooklyn Nine-NineRobin Williams, The Crazy Ones
The Big Bang Theory's Jim Parsons will likely walk home with both awards. In terms of the other nominations, there's no way Chris Messina or Thomas Middleditch have a chance at securing an Emmy nomination. We're also betting that Robin Williams gets nominated, due mostly due organization's usual affection for "veterans" ... or so the Emmys have an excuse to invite the actor to the show and hear his Genie voice.
BEST ACTRESS IN A COMEDY SERIES
Critics' Choice AwardsIlana Glazer, Broad City Julia Louis-Dreyfus, Veep Wendi McLendon-Covey, The Goldbergs Amy Poehler, Parks and Recreation Amy Schumer, Inside Amy Schumer Emmy Rossum, Shameless
Emmy PredictionsZooey Deschanel, New GirlLena Dunham, GirlsEdie Falco, Nurse JackieJulia Louis-Dreyfus, VeepMelissa McCarthy, Mike &amp; MollyAmy Poehler, Parks and RecreatonLouis-Dreyfus' foul-mouthed vice-prez will likely win the Emmy along with the Critics' Choice Award this year. As for the other nomination slots, Glazer and Schumer have no chance at getting nominated for Emmys. We're expecting the rest of the nomination list to be filled up with Emmys regulars like Melissa McCarthy and Edie Falco.
BEST SUPPORTING ACTOR IN A DRAMA SERIES
Critics' Choice AwardsJosh Charles, The Good Wife Walton Goggins, Justified Aaron Paul, Breaking Bad Peter Sarsgaard, The Killing Jon Voight, Ray Donovan Jeffrey Wright, Boardwalk Empire
Emmy PredictionsPeter Dinklage, Game of ThronesWalton Goggins, JustifiedAaron Paul, Breaking BadDean Norris, Breaking BadMandy Patinkin, HomelandJeffery Wright, Boardwalk Empire
Aaron Paul seems like a lock for the Emmys this year. The only person we could see upsetting what is basically destiny at this point is Peter Dinklage, who had a massive year on Game of Thrones. As for the other nominees, we are actually expecting the two award shows to stack up pretty similarly. Mandy Patinkin will definitely get an Emmy nod, while there might be enough space in the mix for long-snubbed Walton Goggins. One can dream, right?
BEST SUPPORTING ACTRESS IN A DRAMA SERIES
Critics' Choice AwardsChristine Baranski, The Good Wife Anna Gunn, Breaking Bad Annet Mahendru, The Americans Melissa McBride, The Walking Dead Maggie Siff, Sons of Anarchy Bellamy Young, Scandal
Emmy PredictionsChristine Baranski, The Good WifeEmilia Clarke, Game of ThronesAnna Gunn, Breaking BadChristina Hendricks, Mad MenMichelle Monaghan, True DetectiveMaggie Smith, Downton Abbey
While Anna Gunn didn't secure a Critics' Choice Award for the last season of Breaking Bad, we're betting she goes home with an Emmy this September. As for the other nominees, we don't expect Maggie Siff, Melissa McBride, and Annet Mahendru to get an Emmy nod, even though each actress certainly deserves the recognition.
BEST SUPPORTING ACTOR IN A COMEDY SERIES
Critics' Choice AwardsAndre Braugher, Brooklyn Nine-Nine Keith David, Enlisted Tony Hale, Veep Albert Tsai, Trophy Wife Christopher Evan Welch, Silicon Valley Jeremy Allen White, Shameless
Emmy PredictionsAndre Braugher, Brooklyn Nine-NineJesse Tyler Ferguson, Modern FamilyEric Stonestreet, Modern FamilyTy Burrell, Modern FamilyTony Hale, VeepNick Offerman, Parks and RecreationAt this point, the supporting actor in a comedy category should be renamed the "Which Modern Family actor hasn't won in a while?" and that honor goes to Ferguson. Even though the Critics' Choice Awards don't feature a single nominee from ABC's dominant sitcom, expect at least three nominees from the show on Emmy night. Four if Ed O'Neil sneaks his way onto the bill. Also, kudos to the Critics Choice awards for nominating Albert Tsai for Trophy Wife. Bert will live in our hearts forever.
BEST SUPPORTING ACTRESS IN A COMEDY SERIES
Critics' Choice AwardsMayim Bialik, The Big Bang Theory Laverne Cox, Orange Is the New Black Kaley Cuoco, The Big Bang Theory Allison Janney, Mom Kate Mulgrew, Orange Is the New Black Merritt Wever, Nurse Jackie
Emmy PredictionsMayim Bialik, The Big Bang TheoryJulie Bowen, Modern FamilyAllison Janney, MomKate Mulgrew, Orange Is the New BlackSofia Vergara, Modern FamilyMerrit Weaver, Nurse Jackie
It might be crazy talk, but we think this category is Orange Is the New Black's best chance for its first Emmy. The show has such a dynamite supporting cast and heavy following that it may be able to crack the winner's circle in its first year of eligibility. We're thinking Kate Mulgrew has a good chance since Modern Family isn't nearly as dominant in this category as it is in Best Supporting Actor.
Follow @Hollywood_com
//
Follow @CurrentlyJordan
//

HBO
After a season that has seen the death of a king, the gruesome head-smashing of our newest hero, heartbreak, betrayal, and giants, it's somewhat surprising that "The Children" ends on such a hopeful note, with Arya Stark staring out over the sea, on her way to a new life in Braavos.
It's a fitting and satisfying ending for a season that has seen power shift so drastically, one that has taken the status quo, or whatever comes closest in Westeros, torn it apart, and scattered the pieces to the wind. It's an ending full of possibility, change and even some excitement, one that firmly places both the children and the Children in the spotlight for next year, by focusing firmly on the future. And it's the capper to what is perhaps Game of Thrones' best season finale yet, an episode that managed to have thematic coherence and shocking twists and turns, and to have put the pieces for upcoming seasons in place while still being an entertaining hour of television. Even if Lady Stoneheart never showed up.
Normally, Game of Thrones packs the biggest shocks of the season into its penultimate episode, leaving the finale open as the time when characters can react and recover from whatever tragic and gruesome death (because it is always a tragic and gruesome death) just shook everything up. It would be easy for "The Children" to be nothing but a reaction episode showing the way the Battle for Castle Black and Tyrion's trial by combat has caused shock waves through the Seven Kingdoms, and saved all of the big shocks for next season. But the fourth season of Game of Thrones subverted its expected formula early, killing off Joffrey in the second episode and packing at least one major twist or death in every episode since, some more successfully than others. Joffrey's death has had the biggest, most expansive impact on the series since Ned Stark was beheaded. Like that original shock it has the biggest impact not on the old guard who used to hold the power in the Seven Kingdoms, but on the next generation, and "The Children" saw that generation inherit their legacy, their future, and in the case of Tyrion, their fathers' worst characteristics.
If the final shot of Arya on the boat is a perfect summation of the episode's themes and of the possibility that awaits these characters in seasons to come, the shot of Tyrion threatening his father with a crossbow while the latter is on the toilet is also fitting, a physical representation of the circle of abuse, desire for power, and hatred coming to a close. Though Tyrion has never been the most noble center, he had a goodness to him that Jaime and certainly Cersei were lacking, and that separated him from the father who never wanted to claim him as his son. However, killing Shae, the only woman he has ever loved, by strangling her in his father's bed is such a characteristically Tywin act that it connects the two in a way that Tyrion has never anticipated or wanted. Peter Dinklage gives a great performance here, exhibiting all of the horror and heartbreak he feels at her second betrayal and his reaction to it, as well as the shock at what he's capable of. Even Tyrion seems to know that he wasn't justified in his actions, that they were cruel and unforgivable and exactly what Tywin would do in that situation.
HBO
So when he holds that crossbow up to his father, and declares with a cold sincerity "I am your son. I have always been your son," he's not just making sure that Tywin faces up to his legacy before he dies, he's also admitting the harshness and cruelty that was always there, under the surface. Despicable though he was, Tywin was a wonderful character to watch, always capable of shaking things up without warning, and he will be missed. Charles Dance gives his last lines a dry wit, bantering easily with Dinklage before taking a stake to the chest, and it's hard not to regret the death of someone who can make sitting on the toilet an act of dignity and grace. But Tyrion shows no mercy, leaving his father there to die in humiliation before being spirited away on a ship with Varys in tow.
His last moments of the season aren't the only parallel to Arya's storyline. She too is forced to choose between mercy and cruelty when faced with a dying Hound, who has been brutally beaten and fatally wounded by Brienne. In a way, she chooses both, ignoring his taunts and pleas for her to kill him and simply walking away, leaving him to the long, agonizing process of dying. Though Arya doesn't put him out of his misery, she can't bring herself to murder the man who, admittedly in a dangerous and unconventional fashion, protected her on her journey. Arya has another parallel in Brienne: they are two strong, self-sufficient women who were more interested in learning to sword fight than in adhering to the way society expects them to behave. Both have seen cruelty and abuse, both have pulled themselves up by the bootstraps and continued on through everything, and both need to go their own ways and set out on their own journeys. Brienne is offering protection and shelter, but Arya knows that she can only rely on herself now. She never fully trusted the Hound, and she certainly doesn't trust Brienne; as these two surrogate parents battle over custody of her, Arya makes the decision to protect herself, and in that moment she grows up more than she ever did by stabbing a man with Needle.
Just as one of Arya's journeys has thankfully come to an end, so has her brother's. Both Arya and Bran had some exciting moments this season, but the vast majority of their screentime was spent wandering around in the wilderness, and frankly, it was one of the less interesting plots of the year. But watching Arya set sail for a new life and Bran-as-Hodor beat up skeleton zombies makes everything worth it, if only because it sets up some truly exciting arcs for next year. Bran comes into his own on a trek to see The Children, the ancient people who have inhabited Westeros since the beginning of time, and who will exist until the end. Still, in order to gain anything in Game of Thrones, you must first lose something of value, and in order to grow into his Warging abilities and his future, Bran must watch Jojen get killed by a skeleton, although the sadness was somewhat undercut by the hilariously awkward CGI the moment involved.
It's a price that Jon Snow knows all too well, having watched the love of his life die last week. Now in command of Castle Black (in action, if not in name) he sets out on a suicide mission to establish a peace treaty with Mance Rayder, only to have the moment interrupted when Stannis Baratheon rides in with an army to rescue Castle Black. Despite Stannis having the army, it's Jon who has the power here, finally getting to embrace his legacy as Ned Stark's son, rather than being shunted aside as his bastard. Like Ned, Jon is one of the few truly noble men in Westeros, but he's seen more than his father did, and he understands that the world and the people who inhabit it aren't black and white, so he has a chance at making it further in the game than Ned did. For Jon, it's not only about right and wrong, but about what's smart, what's merciful, and what's best for each individual situation.
"The Children" also sees Cersei and Daenerys making difficult choices in order to protect their children. Cersei, desperate not to be separated from her last child, reveals to Tywin the truth about her relationship with Jaime. Lena Headey's performance has gone mostly underappreciated as Cersei slides further and further into despair, and her wild-eyed delivery as Cersei plays the final card she has up her sleeve in a bid to hold onto what little power is left to her is pitch perfect. Dany, meanwhile, is forced to choose between her dragons and her people, and must lock her "children" away for everyone's protection. It's a sad, ironic moment for the woman who prides herself on being the "Breaker of Chains," but it's a crucial part of Dany learning to be a great leader, an ancestral legacy left for her by her own family.
In the process of establishing the significant changes that these characters have gone through and the new futures that await them on the other side of the hiatus, "The Children" also drives home how loose the show's structure has become. It still struggles to find a way to balance the numerous storylines so that the important moments have the right amount of impact and weight, but with every character at a different point in the journey that was laid out for them in the books, it's difficult to predict what the show is going to cover in the upcoming seasons, and just how well it will be able to keep a hold on everything. Just like Arya's future is laid out ahead of her in endless possibilities, the show's future is just as uncertain, and there are endless ways that events can play out, and endless changes that can be made.
Episode grade: A-, or Two flame-throwing child fairies that live in the woods. Here's hoping things get even more otherworldly and fantastic in the episodes left to come.
Follow @hollywood_com
//
Follow @julesemm
//

HBO
On this week's Law and Order: Westeros, Tyrion Lannister finally gets his day in court for the murder of King Joffrey.
Much like the episode in which that murder took place, "The Laws of Gods and Men" spent much of its time on a single event, with all of King's Landing's biggest schemers showing up to offer testimony against Tyrion, who had resigned himself to execution in weeks ago. It's not entirely clear whether Tywin actually believes that his son killed Joffrey, but the second Ser Merryn takes the stand, it becomes clear that it doesn't matter what Tyrion did or didn't do. It's a sham of a trial designed only to humiliate Tyrion before finally sending him off to the executioner.
But Tyrion isn't the only one dealing with the consequences and trappings of justice: over in Mereen, Daenerys is discovering that being queen is slightly more complicated than building an army. As she meets with a nobleman whose father she had crucified in payment for killing those slave girls — a crime which he vehemently objected to and campaigned against — the discomfort of learning that she might have been unjust herself is clear on Emilia Clarke's face. Dany has always seen things in relatively black and white terms, punishing all those who have done something wrong, which means she has a lot to reevaluate if she's going to rule the morally grey King's Landing. Forcing Dany to deal with the actual day-to-day politics of ruling is a welcome development for the show, as it not only breaks up the repetive nature of her story, but it also puts her in the uncomfortable position of having to take judge her own policies and see what she needs to change about the way she sees the world in order to be the right queen for Westeros.
Meanwhile, in Braavos, Stannis is also in an uncomfortable position, attempting to convince the Iron Bank to fund his planned attack on King's Landing. The King of Dragonstone has never had strong people skills, a flaw which comes to the forefront in this conversation. His worst quality is that he seems to believe that everyone else in Westeros will simply do whatever he says becuase he has the right to the throne, which means that he is terrible at politics and coersion. And since the only thing Dragonstone exports is shadow demons, he needs all of the political savvy he can get to convince the Iron Bank to help him out.
Luckily, he has Ser Davos at his side, who is quickly proving himself to be an adept Hand of the King, despite his humble beginnings. Not only does Davos know the right way to approach the Bank, but he's also a suprisingly smooth talker when the situation requires it, showcasing his severed fingertips and advocating for Stannis as a just and fair man. It's a rare quality in Westerosi leaders, and it's clearly something that intrigues the Iron Bank enough to win them over. Stannis doesn't seem to know the advantage he has with Davos, as he's still relying far too much on Melisandre and the Lord of the Light. But after the fires burn out, he'll need someone smart enough to help him run the country, and Davos is clearly the best man for the job.
In an episode filled with sudden betrayal and underhanded deals, Davos' display of loyalty is one of only two, although the other one — between Reek and Ramsay Snow — is less rewarding. Yara Greyjoy has finally made her way across the sea in order to bring her brother home. But the person she finds in his place is no longer her brother, and instead of running to her side, he cowers in the corner of his dog cage. Alfie Allen's performance as Reek is one of the show's higlights, although it's hard to watch how sad and broken he is. His shuddering and screaming is a great contrast to Gemma Whelan's steady determination, and even when she heads back to the ships to leave the shell of her brother behind, it's clear that she won't let this development break her down. But the scene truly belongs to Iwan Rheon, who changes the whole nature of his face with a shift of his eyes. It's a slightly terrifying performance, as he easily moves between wide-eyed innocence and grinning madness, and while it's never easy to enjoy his scenes, he's always difficult to look away from.
However, all of that is just leading up to the real focus of the hour: Tyrion's trial. The concepts of justice and fairness established by the other characters are offset by how obviously the deck is stacked against Tyrion for a crime he didn't commit. From Tywin's hilariously pointed opening line — "Did you kill the king?" — things begin to go downhill for everyone's favorite Lannister. The writers' choice to have the witnesses recount the various times that Tyrion had threatened the "sainted" king, moments that we, as the audience cheered him on for, divorced from their original context give the trial a nice twist. Without Joffrey's behavior to balance out Tyrion's actions, those tiny moments of pride we felt when the first occured now seem monstrous, and only help to dig him a deeper grave.
Which makes Jaime's bargain with Tywin less satsfying than Tyrion's own desperate attempt at ensuring justice. Though Jaime manages to negotiate Tywin down to sending his brother to the Nightswatch (and why Jaime thought he could out-manipulate his father in the first place is mystifying), Tyrion throws the deal out the second Shae returns to take the stand. It's less about proving Tyrion guilty than it is about humiliating him totally and completely in front of the people of court, and Tyrion recognizes this. Peter Dinklage has had some great scenes this season, but the second Shae walks into the throne room, he unleashes a tour de force that begins with him half-collapsing in his seat at the sight of her.
Her arrival livens up what had thus far been a standard courtroom scene, with the tension building and building as she reveals the intimate screts of their relationship. Finally unable to bear the shame and hurt that Shae's testimony is causing him, Dinklage unleashes everything he has with a monologue that reveals every bit of fury that he's been carrying around his whole life. Watching it, you can practically hear the scene being shipped off to Emmy voters, because it's probably the best bit of scenery chewing that Dinklage has gotten to do since Season 1.
It culminates with Tyrion's desperate attempt to take his fate in his own hands as he demands a trial by combat. It's not done out of a hope of winning, as Tyrion seems to believe that he's living on borrowed time at the moment, but calculated to throw his father off-balance, and take the power out of his hands. It's clearly not a move that Tywin anticipated, nor one that Jaime appreciates, having just given away his life to Tywin in exchange for Tyrion's, but it's a last-ditch effort to go out on his own terms. Tyrion's right in that he's really on trial for being a dwarf, for killing his mother in childbirth, for the millions of other infractions that Tywin has counted against him all of his life, and after being humiliated by the woman he loves in front of all of the people he's ever hated in his life, Tyrion will be damned if he goes down without a fight.
This season of Game of Thrones has spent a lot more time on the events unfolding in King's Landing, but it's hard to be upset about it when the result is scenes like Tyrion's trial, with all of the scheming, dealing and snarking coming to a head in one, incredibly acted moment. Sure, the dragons are cool, but in the end, they've got nothing on Dinklage.
Episode grade: A-, or Two Whispering Varys', who made a much-welcome return this week to banter with Oberyn Martell. It was exactly as awesome as it sounds.

HBO
"Breaker of Chains" opens exactly where "The Lion and the Rose" closed: on Joffrey's purple, breathless face, his lifeless eyes staring up at his screaming mother.
It's a good place to kick off the events of the episode, a unifying theme for many of the disjointed segments that make up this week's Game of Thrones, and one that helps remind the audience of the chaos that has now gripped Westeros once again. The king is dead, his uncle is arrested for the crime and King's landing has been closed off to prevent any more conspirators from getting away while the shock waves ripple out towards the rest of the kingdom, leaving everyone scrambling to react.
It's the citizens in King's Landings who understandably react most strongly to those waves, starting with Sansa, who is spirited away from the wedding feast by Ser Dontos to a ship that's waiting for her in the harbor. The plot, it turns out, was devised by Littlefinger, who returns briefly with a distractingly awkward accent to take care of the witnesses (Ser Dontos, we barely knew ye) and fulfill the promise he made to Catelyn Stark to protect her daughters. As he guides her below deck to sail off somewhere safer, it's hard to feel as if Sansa is truly safe with him, no matter how many times he tries to reiterate that she is. She's finally out of the Lannisters' clutches, and with Joffrey dead, there's no longer the imminent threat of death and torture hanging over her head... but Littlefinger has never been a man to be trusted, so it doesn't look like poor Sansa is out of the woods just yet.
Meanwhile, her husband is in prison, awaiting news about his upcoming trial. Tyrion's been imprisoned for a crime he didn't commit before, and he's frantically efficient in laying out an attempted plan of defense with Podrick, who comes to bring him food and some basic accoutrements, and - more importantly - news about the ways Tyrion's family intends to take him down. Peter Dinklage bounces from beat to beat within the scene with the kind of effortlessness that make all of his scenes such a delight to watch, and it's when he's pacing around his cell, trading barbs and plots with Pod that the episode truly comes alive. Hopefully the the date of his trial arrives quickly, as Game of Thrones really does need him to give the episode a shot in the arm every so often, and his imprisonment will drastically cut down on Dinklage's screentime.
But what starts as a manic conversation exploring possible options for escape and defense eventually slows its pace as Tyrion learns that Pod has been asked to testify against him. He's resolute in his decision to send his squire away for his own protection, and Dinklage's blank stare as he gives his last orders betray just how badly this particular blow has hurt him. Pod's reluctant to leave his master behind prove he truly is the most loyal squire who ever lived, but we're hoping that he won't be gone for too long. What would we do with all of our "Pod for the Iron Throne" buttons otherwise?
Meanwhile, the rest of the Lannisters are coping with Joffrey's sudden death in different ways. Tywin is, as expected, all business, lecturing Tommen about what makes a good king over the body of his dead grandson. Tywin is all about power, and this tragedy gives him plenty of opportunities to gain more, as everybody is in far too much shock to stop him from digging his claws into the new king. Charles Dance tears into his big monologue in the sept with relish and tackles his conversation with Oberyn with the same kind of zeal. Tywin is usually a despicable character, and his all-encompassing desire for the throne blinds him to the feelings or morals of others, and while Dance never shies away from these aspects of Tywin, he is always wonderful to watch.
Which brings us to the other Lannister children, and that terrible, uncomfortable, unnecessary scene. After Tywin finishes his first royal lesson, he escorts Tommen out of the sept while Jaime makes his way in, sending all of the priests and guards away. It's ostensibly to give Cersei a moment alone with Joffrey, but it's really a chance for them to mourn their child together, and it turns into a rape scene, as Cersei confronts Jaime about killing Tyrion to avenge the king and Jaime confronts the fact that the woman he loves is a hateful one. Of course, that doesn't explain why a man who has thus far established himself to be against sexual violence to attack his sister/lover right next to the body of their dead son, but nothing about this scene seems to make any sense.
In the books, Jaime and Cersei's encounter is a consensual one — although it is regarded by fans as being uncomfortably comical — a jarring expression of grief from two characters who don't know how to react to things the way normal people might. Here, it seems gratuitous, a horrific act added in for the sake of being shocking and appalling. It changes everything we know about Jaime, the Kingslayer who killed people for the right reasons, even knowing what it would do for his reputation. It takes any kind of affection out of his twisted love affair with his sister, and undoes all of the work that both the books and the show do to re-frame him as a complex, flawed human being rather than a complete monster. And it's a unnecessary and cruel punishment for Cersei, as regardless of the writers' intentions, it does read as a punishment for Cersei's wickedness, despite the fact that nobody deserves to endure such a horror, no matter what evils they themselves have committed.
"Breaker of Chains" leaves you reeling from that scene, but never follows up on it, leaving you shocked and uncomfortable for the rest of the episode, forcing you to attempt to pay attention to whatever the Wildlings are up to through the outrage you're still feeling. The fact that it's left completely unacknowledged colors the rest of the episode, which is already all over the place in terms of story and tone.
The ripples of discontent that Joffrey's death causes reach Dragonstone first, giving Stannis the perfect opportunity to attack the throne and reclaim his birthright. Davos, as usual, attempts to use logic against Stannis' religious fanaticism, as he's convinced that he can simply have Melisandre pray for his army to take the city and it will become true. His hand, however, understands that armies take money, and it's Shireen who gives him the idea of where to get it. The bond between Davos and Shireen continues to gives the show some much-needed sweetness, but we're still a bit worried about what might happen to the princess now that Melisandre has set her sights on her. Davos is the only one who would be be able to protect her from the Red Priestess, but we're hoping tht things won't get to a point where he needs to. Is it too much to ask for one child to make it through the series without being traumatized and corrupted?
Word about Joffrey's death hasn't seemed to make its way too far North or South, as neither Arya and the Hound (whose double act had the unfortunate task of serving as comic relief after Jamie and Cersei's scene this week) nor the Brothers of the Nightswatch seem to be concerned about the ramifications the lack of king could have on the land. Granted, with the Wildlings terrorizing villages and slaughtering whole families within running distance of Castle Black, they might have more pressing matters to attend to at the moment. Unfortunately, both plots seem to be spinning their wheels at the moment, waiting for the right moment to steal attention away from King's Landing.
And on the other side of the sea, Daenerys and her army have finally stopped their seemingly-endless marching to challenge the people of Mereen and attempt to free their slaves. Daario effortlessly takes down Mereen's champion with two quick slashes of his knife, impressing the Khaleesi in a way that foreshadows some major romantic developments. I'm less impressed by him, as there's still something about Daario that just screams "sleazy." The big ending moment of the episode came when Dany catapulted the broken chains of her former slaves, and while it was meant to be a major iconic moment, it felt flat and repetitive, which meant "Breaker of Chains" went out with a whimper.
With so many characters and plots running simultaneously on Game of Thrones, there's never going to be an easy way to keep every storyline moving without completely overwhelming the audience. The show is still having difficulty finding the right balance between action and exposition, resulting in episodes like "Breaker of Chains," which feature one or two big moments surrounded by long stretches of tiny developments. Any kind of frustration felt about that pace is only exacerbated by episodes like this one, where there shoehorned-in shock factor doesn't make up for the way the rest of the episode stalls. "Breaker of Chains" started out as a solid episode, but devolved into a perfect example of so many criticisms that fans have about the show.
Episode grade: C, or Two Pouting Jon Snows
Follow @hollywood_com
//
Follow @julesemm
//

An online streaming website for U.S. TV network HBO crashed on Sunday night (06Apr14) after fans flocked to watch the Game Of Thrones season premiere. Fans hoping to see the season four opener of the fantasy drama, starring Peter Dinklage and Emilia Clarke, were disappointed when they could not watch it online after the sheer volume of viewers brought down the channel's Go service.
A statement from website bosses, posted on Twitter.com, reads "Looks like there's trouble in the realm. Apologies for the inconvenience. We'll be providing updates, so please stay tuned."
The news comes less than a month after the finale of Matthew McConaughey's crime drama, True Detective, caused a similar crash.
A statement from HBO, obtained by The Hollywood Reporter, reads, "HBO Go did experience issues due to overwhelming demand around the premiere of Game of Thrones. The service has returned to several platforms and we are working hard towards full recovery, which we expect soon."

Getty Images
After a very deliberately paced casting process, the new adventure in a galaxy far, far away in finally starting to take shape. According to Variety, John Boyega, Jesse Plemons, and Ed Speleers, as well as theater actors Ray Fisher and Matthew James Thomas are all in the running for the lead role in Star Wars: Episode VII. The role is rumored to be a Jedi apprentice, and will likely see the character learning the ways of the Jedi from Mark Hamill's Luke Skywalker.
It seems that director J.J. Abrams is targeting relatively unkown actors for the lead roles, a move that worked wonders in A New Hope. In the past, Abrams and other members of the production have been vocal about returning the franchise to its roots, and evoking the qualities that made the original trilogy such a dearly beloved series among fans. After sifting through the short list of actors, we wondered which of the more notable names would go on to make the best Jedi apprentice.
JOHN BOYEGA
Notable Roles: Moses in Attack the Block.Jedi Potential: Jedis are the stoic protectors of the galaxy. As we saw in Attack the Block, Boyega can do stoic very well. But beyond that, Boyega’s turn in ATB also conveyed a hidden rage burning under the surface of his character, and the ability to give a nuanced performance is important considering how flat the Jedi have come across in the past. Seriously, Star Wars found a way to make Samuel L. Jackson boring.Lightsaber Prowess: In Attack the Block, Moses’ chosen weapon to fight off alien invaders is a katana, which is a weapon only a couple million technological innovations away from a lightsaber. By that logic, Boyega should be a natural, though some bandages might come in handy.
JESSE PLEMONS
Notable Roles: Todd in Breaking Bad, Landry in Friday Night Lights.Jedi Potential: There’s something inherently goofy about Jesse Plemons. Even when portraying a mush-mouthed sociopath in Breaking Bad, it was hard to stay mad at him. While those characteristics might have worked in the pitch black humor of Breaking Bad, we wonder how this might play in the Star Wars universe, especially considering how seriously the Jedi generally take themselves.Lightsaber Prowess: A true Renaissance man, Friday Night Lights’ Landry Clarke was not only one of the best kickers Dillon High School had ever seen, but he was also the lead singer in the Christian speed metal band Crucifictorious. When you’ve already touched greatness in faith based rock music and high school football, handling a lightsaber should be cake.
ED SPELEERS
Notable Roles: Eragon in Eragon, Jimmy in Downton Abbey.Jedi Potential: Speleers' first taste of fantasy filmmaking came in Eragon, a popular book series that didn't have the legs to last as a succesful film property. Speleers’ character on Downton Abbey, Jimmy, is the confident and charismatic footman at Downton, and his bravado and flirtatious tendancies have often gotten him in trouble at the estate. Words like "bravado" and "charisma" don't usually go hand in hand with Jedi, but afterthe prequel films, we don't think most fans would mind a little diversity in Jedi personalities.Lightsaber Prowess: There isn't much in the way of swordplay on the estate of Downton, but Speleers did get some bladework in while filming Eragon, so a lightsaber shouldn't be too big of an adjustment.
MATTHEW JAMES THOMAS
Notable Roles: Peter Parker/Spider-Man in Spider-Man: Turn off the Dark.Jedi Potential: Thomas' time as the geeky arbiter of justice, Spider-Man, should give him an edge in the Jedi department. The infamous Broadway production was full of high flying wire work, so Thomas should be well equipped to handle any stunts in the upcoming film. In any case, Jedi are sort of the geeks of the galaxy anyway.Lightsaber Prowess: Peter Parker isn't one for swordplay, so Thomas might be a little lost during the lightsaber battles, but all of that Spidey training will still come in handy.
RAY FISHER
Notable Roles: Muhammad Ali in Fetch Clay, Make Man.Jedi Potential: A virtual unknown in the film world, Fisher doesn't have many big screen credits as of yet, but the young thespian does have a good amount of experience in theater. The actor recently played Muhammad Ali in the off-Broadway production of Fetch Clay, Make Man. Ali was a fierce boxer as well as a thinker, and the Jedi order has the same dichotomy of violence and philosophy. We think Fisher may be more qualified for the Jedi Robes than his IMDB page lets on. He'll certainly be the coolest Jedi ever.Lightsaber Prowess: Honestly, who needs lightsabers when you're the heavyweight champion of the world? The force is strong with this one, even without any laser sword experience.
Follow @Hollywood_com
//
Follow @CurrentlyJordan
//

Hit musicals Charlie And The Chocolate Factory and Stephen Sondheim's Merrily We Roll Along will go head-to-head at this year's (14) Olivier Awards after receiving seven nominations each. Sam Mendes' adaptation of Roald Dahl's beloved book is up for Best New Musical alongside The Book of Mormon, The Scottsboro Boys, and Once, while Merrily We Roll Along leads the Best Musical Revival category against The Sound Of Music and Tell Me On A Sunday.
The Book of Mormon, The Scottsboro Boy, and Once are just one nod behind the leading pair with six apiece.
In the drama categories, Ghosts, about a woman struggling with the death of her cruel husband, is up for five prizes, including Best Revival, Best Director and Best Actress for Lesley Manville.
She will go up against fellow nominees Judi Dench (Peter & Alice), Anna Chancellor (Private Lives),and Hayley Atwell (The Pride).
The Avengers star Tom Hiddleston is up for Best Actor for his powerful turn in Coriolanus, putting him in competition with Jude Law (Henry V), Henry Goodman (Arturo Ui), and Rory Kinnear (Othello).
Nominated for Best Supporting Actor alongside Ghosts' Jack Lowden are Ardal O'Hanlon (Weir), Ron Cook (Henry V), and Mark Gatiss (Coriolanus), while Best Supporting Actress hopefuls are Sarah Greene (The Cripple of Inishmaan), Sharon D Clarke (Amen Corner), Katherine Kingsley (MSND), and Cecilia Noble (Amen Corner).
Chimerica, Peter And Alice, 1984, and The Night Alive are all nominated in the Best New Play category.
The Olivier Awards will take place at London's Royal Opera House on 13 April (14).

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
Follow @Michael Arbeiter
//
| Follow @Hollywood_com
//

Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
2/5
Follow @hollywood_com
//
Follow @julesemm
//